THE OBENSON REPORT

Those moviegoers hoping to see Denzel Washington and Tom Cruise face off on the big screen will get their chance with MGM's big-budget adaptation of "The Matarese Circle." Cruise is in final negotiations to take on the role of the Russian spy Vasili Taleniekov, mortal enemy of American intelligence operative Brandon Scofield, to be played by Washington.

"Eastern Promises" director David Cronenberg will direct the globetrotting potential franchise-launcher.

[...]

Adapted by "Wanted" scribes Derek Haas and Michael Brandt, and Cronenberg, from a 1979 Robert Ludlum novel, the "Matarese" storyline follows two decades-long arch-enemies who are forced into a distrustful collaboration against a wide-reaching political conspiracy orchestrated by a mysterious organization called the Matarese.

Ludlum drew inspiration from David Rockefeller's Trilateral Commission in the 1970s. But the screenwriters have updated the timeframe from the Cold War to a contemporary setting.

Will You Help Me With My Next Film? ...a request from Michael Moore

February 11, 2009

Friends,

I am in the middle of shooting my next movie and I am looking for a few brave people who work on Wall Street or in the financial industry to come forward and share with me what they know. Based on those who have already contacted me, I believe there are a number of you who know "the real deal" about the abuses that have been happening. You have information that the American people need to hear. I am humbly asking you for a moment of courage, to be a hero and help me expose the biggest swindle in American history.

All correspondence with me will be kept confidential. Your identity will be protected and you will decide to what extent you wish to participate in telling the greatest crime story ever told.

The important thing here is for you to step up as an American and do your duty of shedding some light on this financial collapse. A few good people have already come forward, which leads me to believe there are many more of you out there who know what's going on. Here's your chance to let your fellow citizens in on the truth.

If you have any info that would help, please contact me at my private email address: bailout@michaelmoore.com.

For the rest of you on my email list who don't work in the financial industry, you're probably wondering, "What the heck is this all about? I thought he said he was making a romantic comedy!"

Well, I just can't say much right now. I'm sure you can understand why. One thing I can tell you is that you're gonna like this movie when I'm done with it. Oh, yeah...

So, again, if you work for a bank, a brokerage firm or an insurance company -- or if you have seen things or heard things that you believe the American people have a right to know -- please contact me at bailout@michaelmoore.com.

Thank you in advance for your help!

Yours,
Michael Moore
bailout@michaelmoore.com
MichaelMoore.com

Lee Daniels’ Sundance jury and audience winner, “Push” is finding homes abroad as New York-based sales company Elephant Eye makes international deals following the feature’s recent lucrative deal with Lionsgate, which has resulted in a law suit for the film with The Weinstein Company.

Elephant Eye partners Kim Jose and David Robinson negotiated deals at the European Film Market, currently underway, for the film with Icon, which will take U.K. and Australian rights as well as Noble, which will handle the film in Scandinavian countries. Lebanon’s Front Row, meanwhile, picked up the film for the Middle East.

“Everyone involved with ‘Push’ are thrilled to be working with such supportive and passionate distribution partners,” Jose told indieWIRE in Berlin Tuesday morning. “Based on the audience reaction at our screening, ‘Push’ is not just an American story, it travels universally.”

Since the early days of cinema, when the Lincoln Motion Picture Company and Oscar Micheaux existed, we haven't seen an autonomous black-owned and operated film entity in this country, akin to the likes of the Hollywood-based studios and their subsidiaries.

As a black filmmaker, I once empathized with the cries of black voices working within the studio system, criticizing it for its lack of diversity. However, the song has become stale, as people like myself, existing outside the system, struggle to understand the apparent lack of vision that some of our well-paid, powerful, influential voices display.

In recent weeks, I've read articles in which black Hollywood elite like Halle Berry, Spike Lee, and Tyler Perry have expressed their frustrations with some aspect of the industry, specific to their race. It seems to me that we've created this unfortunate reality for ourselves, this prison that we've psyched ourselves into, when we clearly have the power to create the kind of truth we yearn for. Instead we wait for a group of devout capitalists to some day realize our plight and intervene accordingly.

Almost 70 years ago, Hattie McDaniel, the first black Oscar winner, was quoted as saying, "I'd rather play a maid and make $700 a week than be one for $7," implying that she was arguably without choice. If black film talent (writers, directors, performers) today are still making somewhat similar statements -- post-Civil Rights Movement, post-Blaxploitation era, post Oscar wins for several black performers; at a time when we have unprecedented access to the production resources necessary, distribution channels, and finances; 70 years after "Mammy" in Gone With the Wind -- if we're still expressing similar sentiments, then we have perhaps regressed instead of progressed. It's a thought that is simultaneously numbing and enraging.

It baffles me that someone like Robert Johnson chooses to jump into bed with the Weinstein Company and JP Morgan Chase, to form his film company -- Our Stories Films, Inc. -- as opposed to building the entity solo (he's certainly capable), or in cooperation with other able African Americans/Africans, in order to make it an unequivocally black-owned and operated entity, as opposed to one that's dependent on the influence of white-owned establishments.

We've risen to the challenge before. In 1973, a film called The Spook Who Sat By the Door was financed through funds raised from black investors. In 1992, when Spike Lee needed money to complete production of Malcolm X, Bill Cosby, Janet Jackson, Oprah Winfrey, and others, collectively came up with approximately $11 million to ensure the completion of the film, since the initial budget approved by Warner Bros. wasn't sufficient. In 1996, the $2.4 million budget for Get on the Bus was financed entirely by contributions from African-American men, including Will Smith, Danny Glover, and Wesley Snipes.

So we've clearly shown the will to mobilize ourselves for a cause, and have done so with some success; it perplexes me why this similar kind of communal effort has not been implemented on a grander scale, and done so more frequently.

An absurd 10 out of the 400 plus films (a paltry 2.5 percent) that have been released this year by the dominant studio system, tell stories primarily about black people, while also being created by black people.

We are still very much the "invisible man" in this powerful medium -- arguably the most influential medium in existence. Cinema informs and educates; and what we learn from the images we see, partially dictates how we relate to each other, especially those whom we rarely interact with. When you're not present, you're not valued, particularly by those in power, who are in positions to create and enforce policies that directly affect us; and when your life is considered unessential, then you're disposable; the victims of Katrina saw this phenomenon play out firsthand.

What I and others like myself are calling for, and trying to crystallize collectively, is a comparable studio that's autonomous, just like any other major/mini film entity -- one that produces, finances, and distributes its own films globally, as opposed to relying on an existing system that's motivated by profit, and has no real incentive to change its modus operandi, nor does it have any allegiance to a single group of people.

We have to become the change that we all say we want to see -- a feat that's more accessible to us than we might realize. It will be a challenge from the beginning, but as long as we don't lose sight of the big picture, it will be a worthwhile effort in the long run.

“The thing I really want to stress is that I have NO confusion what-so-ever. I was out of order beyond belief. I acted like a punk. I regret that and there is nobody that has heard that tape that is hit harder by it than me. I make no excuses for it, it is inexcusable.”

“In [T2] you will meet Sarah Connor. And she is in an insane asylum—why is she there? Because she is crazy. Now I play John Connor her son, and on the day that all of this happened, the scene that we were doing, I was trying to show a little of that in-the-blood craziness, and it went a little wrong… I took it way too far, and I completely mixed up fact and fiction. I’m half John Connor, I’m half Christian there.”

“I’ve not only talked with [DP Shane Hurlbut], we’ve resolved this completely. That very day we kept working for a number of hours. Listen when I’m saying I’m not coming back on that set if he’s still hired, it’s hot air. I don’t believe that. I have no intention of getting anybody fired.”

“And another thing: a lot of people that I was a bully to this guy. That’s an insult to Shane. He is a big guy. I couldn’t have bullied that guy if I tried. He’s much bigger than me—he’s an ex-friggin football player.”